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A Posthumous Interview with Seymour Drugan

A Posthumous Interview with Seymour Drugan by Harry Fleishman Originally published in American Lutherie #151, 2024   Mr. Drugan, it is an honor and a pleasure to see you again and get to talk with you. You were so important in…. Nice to see you again. That was a long time ago, wasn’t it, more […]

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Questions: Amplifying Flattop Bass

Questions: Amplifying Flattop Bass

by Harry Fleishman

Originally published in American Lutherie #65, 2001 and Big Red Book of American Lutherie Volume Six, 2013



Mark Brantley of Appleton, Minnesota asks:

I recently ordered Tim Olsen’s plans for the Flattop Bass (GAL Plan #13). Do you have any advice on a good electric pickup for it?


Harry Fleishman of Boulder, Colorado responds:

It’s difficult to offer too much advice about amplifying your acoustic bass without more input about how loud you need to play, how high a fidelity to the instrument’s actual acoustic voice you want, and what your budget is; but here goes anyway.

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In Memoriam: Ken Goodwin

In Memoriam: Ken Goodwin

1948 – 2013

by Harry Fleishman

Originally published in American Lutherie #117, 2014

One of my oldest friends in the lutherie community died recently. Kenny Goodwin, a Guild member when he could afford it, and a one-time convention attendee, died suddenly in August of leukemia.

He and I met in the early ’70s when he came in to my first shop to ask for help with a guitar he was making. He and I became close friends and mutual advisors and ignorers. We gave and received advice from each other for decades about life, love, depression, acoustics, coffee, Chinese food, and hot water. We even took that advice sometimes. We spent hours turning to prunes as we bounced ideas back and forth while soaking in the Boulder Rec Center hot tub. He was the best person I’ve ever known for providing a sounding board for concepts about pickups, guitars, basses, and processes.

Ken Goodwin (center) with Bob Benedetto (left) and Harry Fleishman at the 2001 GAL Convention in Tacoma. Photo by John Leach.

Kenny was also a very fine guitar player, described in a review in the Denver Post as a guitarist who could “make the guitar lovely.” And this was in punk bands! He was also a self-taught organist.

I believe Kenny only made one guitar, but he was a true luthier in spirit.

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Product Reviews: Dan Erlewine’s Don’t Fret video

Product Reviews: Dan Erlewine's Don't Fret video

by Harry Fleishman

Originally published in American Lutherie #34, 1993 and Big Red Book of American Lutherie Volume Three, 2004



Dan Erlewine’s Don’t Fret video and specialized tools
Stewart-MacDonald
www.stewmac.com

I will never forget my first fret job. It was a balmy spring evening; the jasmine were blooming. The year was 1964. We were alone in my bedroom, just me and my Strat. I was an anxious sixteen year old. She was a blonde, born in ’62.

This was nine years before I saw a copy of Irving Sloane’s groundbreaking book on repair, so when I decided to fix a few badly worn frets I was on my own. The worst wear was on the 2nd string, 1st fret and the 1st string, 3rd fret; the rest were still pretty good. Out came the soldering gun! No, I wasn’t planning to carefully remove the offending frets for replacement; I was going to fill the grooves with solder! I heated up the frets and flowed a bit of solder on. After they cooled, I smoothed them over with the file on my nail clipper. They looked great and I felt heroic. That is the proper technique, isn’t it? Nearly thirty years later, I know better. I should have used a soldering iron, not a gun. The gun could have demagnetized the pickups!

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This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page.

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In Memoriam: Dennis Stevens

In Memoriam: Dennis Stevens

1944 – 2009

by Harry Fleishman

Originally published in American Lutherie #99, 2009

My good friend Denny died today. He had engaged a brief battle with ALS, and it didn’t beat him; he walked away from the battlefield on his own terms. He was heroic.

Everyone who knew Denny respected him. When there was nothing but Sloane, Denny started building. His work was steady, exceptional, occasionally truly innovative, and always genuine and BS-free. He was a good guy to have as an influence.

Denny was supportive and argumentative and couldn’t figure out why I did some of the things I was trying to do, because he was so good at doing it the right way that he didn’t feel a need to reinvent it. He was open-minded and open-hearted and generous, even if he did avoid most people most of the time. He had no problem holding contradictory ideas in his head, and didn’t hold onto old ideas if they were supplanted by better ones.

Denny’s guitars were always flawless, which is no mean feat, so it was a surprise when he told me that he had encountered a real serious problem on one of his semihollow electrics. He had been experimenting with vinyl purfling, with which he could put together really sharp contrasts, and the lacquer didn’t stick to it leaving a tiny bubble where it should have been adhered. I don’t know what you’d have done, but I doubt you would have taken a fresh #11 X-acto and cut the offending strip, all forty thousandths of it, and carefully removed it. After cleaning the slot left by that, he superglued the original piece of lacquer back in place, sanded and buffed it, and it was invisible and, of course, perfect. Yeah, I know. Me neither.

Photo by Harry Fleishman.

Denny grew up outside of Boulder in a modest house to which he continually added, putting in their septic tank with his brother when he was a teenager. He lived there from age nine or ten until he moved to Salem, Oregon with Karen at about age fifty. Along the way he added on rooms and a shop as he grew up and married. I helped him load up the truck to drive out west to Salem, and I didn’t understand his difficulty in moving until he told me his history. You might say he was stable.

It was Denny who introduced me to the Guild of American Luthiers, even though we are both non-joiners; it was Denny to whom I turned with questions or to show off. We bounced ideas off each other and came up with a great lutherie tool together, one iteration at a time. His first one is still the best one.

Denny never advertised, always had lots of work, was revered in the jazz guitar community, made fabulous steel strings, some good classicals, and a truly hilarious electric, his first guitar, made in 1958. Great guy, Denny.